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This contrast of beauty and peril speaks directly to the experience of the filmmaker himself. Among the countless experimental techniques exhibited in Vertov's film, he employs a variety of modes which suggest self-reflexivity, especially as it relates to the filmmaker's balance of beauty and peril. From the very opening scene, there is a meta-reality implied by the acknowledgement of the content itself as being cinematic in nature. That is, the opening theatre sequence in which viewers file in, an orchestra prepares and a man readies the projector seems almost to reverse the concept of opening credits by mimicking the experience of the audience itself.
Such devices are employed thereafter as a vehicle for the delivery of the film itself. Long sweeping shots capture the filmmaker himself, traversing a symbolic demonstration of modern life. As Vertov observes the lives of citizens in the various Soviet cities used for the film's gathering of imagery, he transcribes the process of creating a film to an awakening in the early outset. The images of sleeping citizens, opening factories and vistas at dawn suggest a collective morning that implies more than just the act of rising for the day. Vertov connects the experiences of morning with the presentation of the filmmaker setting out for a day of . This corresponds with Friedberg's explanation that "the virtual gaze is not a direct perception but a received perception mediated through representation." Friedberg continues by explaining that the virtual gaze "travels in an imaginary flanerie through an imaginary elsewhere and imaginary elsewhen." (Friedberg, p. 2)
Quite so, the way that Vertov jumps rapidly from one place to another, presumably representing infinite moments occurring in simultaneity, and moreover the way that Vertov only reveals selected bits of each image he offers, suggest that the morning at the outset of the film is a symbolic one. A concrete presentation of this moment would not allow for the sheer spectrum of images used to suggest this universal human experience of awakening.
Works Cited:
Friedberg, A. (1994). Window Shopping: Cinema and the Postmodern. University of California Press.
Works Cited:
Friedberg, A. (1994). Window Shopping: Cinema and the Postmodern. University of California Press.
The multiple camera views include shots from inside the landing craft, from the beaches, facing the coastal defenses and also from the German perspective looking out at the largest invasion of land by sea in history featuring thousands of vessels and stretching further out to sea than the human eye could see (Katz, 2004). Realism and Social Response and Political Influence In general, the film depicted combat scenes as realistically as
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
Today, more than forty years later, the special effects for a film are still in an evolutionary stage, and the Star Wars one was the first films to use the 3 dimensional Computer Generated Images technique in a feature film. Today, visual and special effects are even more popular than they were a few years back, and when Luxo, which was the first computer generated film to be nominated
Film Theory The canonical model of the purely cinematic (Eisenstein, Kracauer, Bazin) starts disappearing in contemporary theory. Most film theorists since the 1970s (Baudry, Wollen, Mulvey, Stam/Shohat, or Jameson, etc.) Explain in different ways how the textual (content and form, the film text itself) and institutional have merged together. Choose two theorists for whom the institutional issues are integrally connected to the textual ones, and explain their insights about reading
The use of this shot can be seen in the sequence where Marsellus gets run over by Butch and later when Butch is beating up one of the pawn shop owners. Tarantino is also known to use a long shot in his films. The use of a long shot can be seen shortly after the film's introduction as Vince and Jules discuss the differences between the United States and
Siegel's 1956 film version of The Invasion of the Body Snatchers uses a number of realistic techniques like undistorted camera angles, and shots of mundane activities and locations to establish the rationality and logic of the daytime world of small-town California. As the movie begins to shift into the nightmarish world of the alien invasion, the shots become increasingly distorted, dark and gloomy, showing the slip into the subconscious,